Choral Concert.

Thames Star, Volume XV, Issue 4714, 15 February 1884, Page 2

Choral Concert.

A good audience assembled in the Academy of Music last night, when the Choral Society gate its third concert. The concert opened with Rossini's overture to Tancredi, which, although it started somewhat unevenly, displayed as it progressed the fact that diligent rehearsal had been attended to, and the sublime passages of the composition were done full justice to. There was a noticeable correctness in the execution of the work by the stringed portion of the orchestra particularly, and a weakness in number of wind instruments. The overture was deservedly applauded. For some reason at present unexplained there were only three choruses on the programme, which hardly entitled the entertainment to be called a Choral Society's concert. We were glad to see that the conductor wielded his baton so successfully, although he occupied a less prominent position than at previous concerts. Mrs Kirkpatrick ably acted as accompanist. The first chorus was the " Mariners," from Macfarren's well known work ; this was well rendered, but displayed a deficiency of power in the male voices. Mr Milligan Hogg next appeared, and was very deservedly applauded for his finished Tendering of " The lark now leaves his watevy nest." This gentleman shewed the possession of a voice of moderate compass, which had been carefully trained, and although displaying a little abruptness in the delivery of his final notes, he appeared to study his points generally. In response to an encore, the singer gave 11 True till death," in which he was heard to even more advantage than in his previous effort. Mrs Payne and Miss Ferguson sang "A Sea of Glass," and won deserved applause for their careful rendition of that duet. The second chorus by the Society was "About, about," from the " Ancient Mariner," and went fery smoothly, but still betrayed the want of those very necessary accessories, male voices, The advent of Mr Gainor was waited for, and the anticipation of a musical treat from his performance was certainly justified. This gentleman's first effort was " Dio Pos» sente," by Gounod, and a depth of feeling was thrown into its rendering. The executant made a brilliant display of his natural and cultivated powers, and shewed the possession of a voice of great compass. His audience were awakened to enthusiasm, and vigorously encored him; the result was the deliverance of "I fear no foe," which made the walls almost resound with the power of the vocalists upper notes. A very pretty waltz tune was given by the orchestra, and the precision of the string movements was admirable. It seems a pity that some "reed" music cannot be introduced into the band. In this number the "brass" performers were very accurate: Miss Coney sang " La Berceuse " with a violin obligato by Mr Beale, and it is saying enough to remark that. we were; in accord with the audience when they demanded the reappearance of the fair canta'trice. In response to a hearty encore, Miss Coney sang "Dream Faces." The first, part of the programme con« eluded with the popular " Wake with a smile," from " The May Queen," which was very carefully taken. The second part was the operetta, "Breaking the Spell," iv which Mrs Kilgour, and Messrs Coney and Stewart; took parts. The sparkling music was well rendered*, biit at times want of rehearsal shewed itself, on the part of the male performers. Mrs Kilgour entered, into the spirit of the operetta, as Mrs Kilgour always does when she undertakes anything, and carried out to the fullest extent the author and composer's idea— in fact, the worthy Offenbach could not have been but delighted had be seen his creation (Jenny Wood) so ably pourtrayed and the music allotted to the part so accurately rendered. Mr Stewart appeared as the lover (Peter), and sang his numbers well, but occasionally the spirit of fun crept in where a little solemnity was necessary. As the "fiddly" godfather (Mathew), Mr Coney seemed at home, but was at times lost for words to express his feelings ; he imported a good deal of spirit into the passages between his goddaughter, for the nonce, and himself. The overture to this Operetta is somewhat solemn, and should the work be reproduced, the substition of an overture from a livelier composition would be desirable.